Asher Fisch conducts The Planets Digital Program (2024)

VIOLIN
Riley Skevington
Assoc Concertmaster
Semra Lee-Smith
Assistant Concertmaster
Graeme Norris
Principal 1st Violin
Zak Rowntree*
Principal 2nd Violin
Kylie Liang
Assoc Principal 2nd Violin
Stephanie Dean
Rebecca Glorie
Beth Hebert
William Huxtable^
Alexandra Isted
Jane Johnston^
Sunmi Jung
Christina Katsimbardis
Ellie Lawrence
Sera Lee^
Jasmine Middleton^
Akiko Miyazawa
Lucas O’Brien
Melanie Pearn
Ken Peeler
Louise Sanderco*ck
Jolanta Schenk
Jane Serrangeli
Bao Di Tang
Cerys Tooby
Teresa Vinci^
Susannah Williams^

VIOLA
Daniel Schmitt
Alex Brogan
Kierstan Arkleysmith
Nik Babic
Benjamin Caddy
Alison Hall
Rachael Kirk
Mirjana Kojic^
Kathryn McKay^
Elliot O’Brien
Helen Tuckey

CELLO
Rod McGrath
• Tokyo Gas
Eve Silver*
Melinda Forsythe^
Shigeru Komatsu
Oliver McAslan
Nicholas Metcalfe
Fotis Skordas
Tim South
Jon Tooby^

DOUBLE BASS
Andrew Sinclair*
John Keene
Louise Elaerts
Oakley Paul^
Christine Reitzenstein
Andrew Tait
Mark Tooby

FLUTE
Andrew Nicholson
• Anonymous
Mary-Anne Blades
• Anonymous
Andrew Freeman^

PICCOLO
Michael Waye
• Pamela & Josh Pitt

OBOE
Liz Chee
A/Principal Oboe
Bridie Bloor^
Esther Lee^

COR ANGLAIS
Leanne Glover
• Sam & Leanne Walsh

CLARINET
Allan Meyer
Lorna Cook
Jodie Upton^

BASS CLARINET
Alexander Millier

BASSOON
Jane Kircher-Lindner
Adam Mikulicz
Linda Charteris^

CONTRABASSOON
Chloe Turner
• Stelios Jewellers

HORN
★ Margaret & Rod Marston
David Evans
Robert Gladstones
Principal 3rd Horn
Sarah Brien^
Julia Brooke
Dorée Dixon^
Julian Leslie^
Francesco Lo Surdo

TRUMPET
Brent Grapes
• Anonymous
Jenna Smith
Zoe McGivern^
Peter Miller

TROMBONE
Joshua Davis
• Dr Ken Evans AM & Dr Glenda Campbell-Evans
Liam O’Malley
Jeremy Mazurek^

BASS TROMBONE
Philip Holdsworth

TUBA
Cameron Brook
• Peter & Jean Stokes

TIMPANI
Alex Timcke

PERCUSSION
Brian Maloney
Francois Combemorel
Assoc Principal Percussion & Timpani
Joel Bass^
James Chong^
Robyn Gray^
Tegan LeBrun^
Tom Robertson^

HARP
Yi-Yun Loei^
William Nichols^

KEYBOARD
Adam Pinto^

ORGAN

Asher Fisch
Principal Conductor & Artistic Adviser

A renowned conductor in both the operatic and symphonic worlds, Asher Fisch is especially celebrated for his interpretative command of core German and Italian repertoire of the Romantic and post-Romantic era. He conducts a wide variety of repertoire from Gluck to contemporary works by living composers. Since 2014, Asher Fisch has been the Principal Conductor and Artistic Adviser of the West Australian Symphony Orchestra (WASO). His former posts include Principal Guest Conductor of the Seattle Opera (2007- 2013), Music Director of the New Israeli Opera (1998-2008), and Music Director of the Wiener Volksoper (1995-2000).

After returning to conduct the Boston Symphony Orchestra at Tanglewood and the Cleveland Orchestra at the Blossom Festival in August, highlights of Asher Fisch’s 2019-20 season include concerts with the New Zealand Symphony Orchestra and the orchestra of the Teatro Comunale di Bologne. Guest opera engagements include Fidelio and Adriana Lecouvrer at the Teatro Comunale di Bologne, Carmen, Die Zauberflöte, and Parsifal at the Bayerische Staatsoper, Ariadne auf Naxos with the Bayerische Staatsoper at the Hong Kong Arts Festival, and Pagliacci and Schitz at the Israeli Opera.

Highlights of Asher Fisch’s 2018-19 season included guest engagements with the Düsseldorf Philharmonic, Sydney Symphony and Teatro Massimo Orchestra in Palermo. Guest opera engagements included Il Trovatore, Otello, Die Fliegende Holländer, and Andrea Chénier at the Bayerische Staatsoper, Arabella and Hansel und Gretel at the Semperoper Dresden, Tannhäuser at the Tokyo National Theater, and Cristof Loy’s new production of Capriccio at the Teatro Real in Madrid.

Born in Israel, Fisch began his conducting career as Daniel Barenboim’s assistant and kappellmeister at the Berlin Staatsoper. He has built his versatile repertoire at the major opera houses such as the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Teatro alla Scala, Royal Opera House at Covent Garden and Semperoper Dresden. Fisch is also a regular guest conductor at leading American symphony orchestras including those of Boston, Chicago, Cleveland, New York, and Philadelphia. In Europe he has appeared at the Berlin Philharmonic, Munich Philharmonic, London Symphony Orchestra, Leipzig Gewandhaus Orchestra, and the Orchestre National de France, among others.

Asher Fisch’s recent recordings include Wagner’s Tristan und Isolde, recorded live with WASO and featuring Stuart Skelton and Gun-Brit Barkmin. Widely acclaimed, it won Limelight Magazine’s Opera Recording of the Year in 2019. Fisch’s recording of Ravel’s L’heure espagnole with the Munich Radio Orchestra also won Limelight Magazine’s Opera Recording of the Year in 2017. In 2018 Fisch and WASO recorded Bruckner’s Symphony No.8 for WASOLive! and Stuart Skelton’s first solo album for ABC Classics. In 2015, he recorded the complete Brahms symphonies live with WASO for ABC Classics. Asher Fisch’s recording of Wagner’s Ring Cycle with the Seattle Opera was released on the Avie label in 2014 and his first Ring Cycle recording, with the State Opera of South Australia, was released by Melba Recordings.

Asher Fisch appears courtesy of Wesfarmers Arts.

WASO Chorus
and members of the UWA Symphonic Chorus

The WASO Chorus was formed in 1988 and consists of around 100 volunteer choristers who represent the finest form of community music making, bringing together singers from all walks of life. They regularly feature in the WASO annual concert season, and are directed by Andrew Foote.

The Chorus has built an international reputation for its high standards and diverse range of repertoire. While its main role is to perform with the West Australian Symphony Orchestra the Chorus also maintains a profile of solo concerts, tours and community engagements.

The Chorus sings with the finest conductors and soloists including Asher Fisch, Simone Young, Stephen Layton and Paul Daniel. Recent highlights have included Brahms’ German Requiem, Mahler’s Second Symphony and Verdi’s Requiem. In 2019 the Chorus performed at the Denmark Festival of Voice and in 2018 toured China with performances of Orff’s Carmina Burana. In 2020 they performed two Gala events on the Kalbarri Skywalk.

Andrew Foote
Chorus Director

Lea Hayward
Accompanist

Richard Wagner (1813-1883)

The Flying Dutchman: Overture

The Flying Dutchman tells the story of a sea captain who, living under a curse, is doomed to sail the seas for all eternity or until he is released from his torment through the love and redemptive sacrifice of a pure woman. He anchors his phantom ship in a sheltered cove in Norway and finds in a young woman, Senta, the redeemer he longs for. Senta, too, yearns to liberate the Dutchman and in the closing moments of the opera casts herself into the sea to be united with her beloved in death.

The robust theme announced by the horns at the beginning of the overture is strongly associated with the Dutchman. The turbulent rising and falling waves thrashed out by the strings and the pervasive and unstable diminished seventh harmonies suggest a terrifying ocean voyage. The ocean is tamed, however, with the appearance of one of Senta’s melodies, enunciated by the cor anglais and supported by other woodwinds. We have moved from the key of D minor to F major and have sailed into harmonically stable waters. But the period of calm is short-lived, for we soon return to D minor and the turbulent themes associated with the accursed protagonist. Thematic contrast appears in the form of the buoyant Norwegian sailors’ song (again in F major and enunciated by the winds) but this, too, is thwarted by the Dutchman and the tempestuous sea. Finally, Senta’s ‘redemption’ theme rings out triumphantly in D major, signifying that peace has come at last to the tragic, long-suffering Dutchman.

Abridged from Robert Gibson © 1999

First performance of the Opera:
2 January 1843, Dresden. Composer
conducting.

Most recent WASO performance:
22 October 2011. Brad Cohen, conductor.

Instrumentation:
Three flutes (one doubling piccolo), two each of oboes (one doubling cor anglais), clarinets and bassoons; four horns, two trumpets, three trombones, tuba; timpani, harp and strings.

Alban Berg (1885 – 1935)

Three Pieces for Orchestra, Op.6

I Präludium
II Reigen
III Marsch

It’s perhaps surprising that Alban Berg should have exerted such an influence on 20th-century music given that he received relatively little formal training. A gifted amateur whose social circle in fin de siècle Vienna included such members of the cultural elite as the artist Gustav Klimt and architect Adolf Loos, he remained
largely self-taught until seeking out private tuition with Arnold Schoenberg in 1904. Schoenberg, a pivotal if still divisive figure in modern music, was at the time preparing to embark on a series of compositions which would erode the tonal foundations that had underpinned Western music for over three hundred years. His highly expressive and chromatic 1899 sextet Verklärte Nacht (Transfigured Night), whilst largely tonal, foreshadowed his imminent musical direction. Ten years later he would dispense with conventional tonal structures completely in his Three Piano Pieces, Op.11.

Schoenberg himself did not see his experiments as an act of rebellion, however, and even disliked the term ‘atonal’; he viewed his ventures not as revolution but evolution – the next logical step after the harmonic developments of Wagner, Richard Strauss and Mahler had pushed tonality to its limits with the lush dissonances that give late-Romantic music its richly dramatic character. Schoenberg took this even further: in placing equal importance on all twelve notes of the chromatic scale – the so-called ‘twelve-note’ method of composition – he effectively abolished the concept of tonal hierarchy (that is, the idea that certain notes in the scale are more important musically than others), the leading principle underlying Western music up until that point. By doing this, Schoenberg famously remarked, he had broken free from the ‘fetters of a bygone aesthetic’. Along with his fellow student Anton Webern, Berg adopted these ideas, albeit in his own very personal, emotionally charged style.

Berg studied for six years with Schoenberg, and such was his lasting respect for his teacher that he dedicated several works to him, including his Three Pieces for Orchestra, written in honour of Schoenberg’s 40th birthday in 1914. Berg had shown early promise in his lessons, however Schoenberg lamented his talented pupil’s disinclination toward composing much else other than songs and miniatures, and urged him to apply his efforts to larger instrumental forms. The result, the Three Pieces for Orchestra, is Berg’s first major symphonic work.

Berg described the opening Präludium as a symphonic first movement; Reigen as a scherzo and slow movement; and the Marsch, as long as the first two movements put together, as a symphonic finale. The score calls for a huge orchestra, which Berg employs to great dramatic effect. The influence of Gustav Mahler, a composer Berg revered, is apparent: before beginning work on the Three Pieces Berg had attended the posthumous Viennese premiere of Mahler’s Ninth Symphony, whose music he described to Schoenberg as ‘no longer of this world … a mysterious miracle of nature’. This might describe the opening and closing sections of the palindromic first movement, which begins with soft, unpitched percussion (tam tam, cymbals, snare drum, bass drum), then pitched percussion (timpani), before melodic ideas vaguely begin to emerge. The music builds to a climax before dying away into nothingness as it began.

The title of the second movement, Reigen, is often translated as ‘Round Dance’. The switch to waltz tempo one minute in recalls Mahler. Berg expertly manipulates his orchestra: a particularly striking gesture occurs at the end as a full orchestral trill gives way to a distant brass fanfare.

Berg fully mobilizes his orchestral forces in the final Marsch, a nod to the marches of Mahler’s Fifth and Sixth symphonies. The music powerfully erupts and dissolves by turn, the movement ending with a Mahlerian hammer blow.

The first two of the Three Pieces were premiered on 5 June 1923 in Berlin, under the direction of Anton Webern. The first performance of the complete work was given some years later, on 14 April 1930, conducted by Johannes Schüler. Berg was right to observe Schoenberg’s advice: after composing Three Orchestral Pieces he hit his stride with such large-scale compositions as the Lyric Suite, Violin Concerto, and the operas Wozzeck and Lulu, works that remain his most enduring.

Lorraine Neilson © 2021

First performance:
5 June 1923, Berlin. Anton Webern, conductor.

First WASO performance:
This is WASO’s first performance of the work.

Instrumentation:
four each of flutes (all double piccolo), oboes (fourth doubles cor anglais), clarinets (two double on E♭ and bass clarinet) and bassoons (fourth doubles contra bassoon); six horns, four trumpets, four trombones, tuba; two timpani, five percussion, two harps, celeste and strings.

Gustav Holst (1874 – 1934)

The Planets, Op.32

I Mars, the Bringer of War
II Venus, the Bringer of Peace
III Mercury, the Winged Messenger
IV Jupiter, the Bringer of Jollity
V Saturn, the Bringer of Old Age
VI Uranus, the Magician
VII Neptune, the Mystic

The Planets must be one of the most influential musical works of the 20th century. Russell Crowe and his cohorts in Gladiator seemed that bit more craggily determined thanks to a score that reminded us of Mars. At the close of Neptune, Holst invents the fade-out. The iridescent opening of Jupiter foreshadows the work of John Adams, and for many years Anglicans have sung its big central tune as the patriotic hymn, I vow to thee my country.

As a repository of orchestral special effects and memorable tunes, the piece has certainly earned its pop status, but its very popularity and the imitations it has spawned have disadvantaged it and its composer. We need to make an effort to hear the work with fresh ears and to remind ourselves that this was very radical music for its time. Moreover, we should note that it is atypical of its composer. An artist of great integrity, Holst refused to imitate the piece to ensure his own status, so that we sadly hear little of his other work, even though much of it is of the same quality as The Planets.

Holst, like his great friend Vaughan Williams, was of a generation educated at London’s Royal College of Music which rejuvenated British music through the study of Tudor music and the collection of folksong. The young Holst was at first a Wagnerian, and his early works show this influence in their opulence and richly chromatic harmony. After some years as a professional trombonist, Holst decided in 1903 to devote himself to composition. In practice, though, this meant beginning his career as an outstanding teacher at St Paul’s Girls’ School, Morley College, and later the RCM. He also became drawn to eastern mysticism, particularly that of Hinduism, which led, indirectly, to his development of a much leaner harmonic style.

Composed between 1914 and 1917, the seven movements of The Planets are less about depicting large balls of gas and rock than about each planet’s astrological significance. Given the outbreak of the First World War at the time, it is hard not to see Mars as grimly prophetic of the carnage of the first hi-tech war. Where a composer like Mahler uses military music for an ambiguously thrilling effect, Holst takes pains to make his music simply inhuman: the opening three-note theme traces the tritone, an unstable interval often called ‘the devil in music’. The relentlessly repeated rhythm, or ostinato, is no simple march, having five beats to a bar. The harmony is bitonal, that is, it superimposes chords of two different keys to give it its sense of unrelieved dissonance, especially at the shattering climax.

Venus, the Bringer of Peace offers a complete contrast: the orchestration is sweet and languorous and the harmony, while still frequently bitonal, uses chords which avoid direct clashes of adjacent notes, creating subtle voluptuousness.

Mercury is rather like a symphonic scherzo: short, fast and orchestrated with the utmost delicacy. At the heart of the suite, Jupiter is an orchestral tour de force. The glittering fast music with which it opens is busy but crystal clear; its theme, like that of Mars, is based on a three-note motive, but here it is completely and solidly diatonic. The Planets was first planned during a holiday in Spain, so we shouldn’t be surprised to hear certain Iberian sounds and rhythms in the dance music which follows. This is interrupted by a fanfare of repeated chords, which ushers in the quiet statement of the celebrated maestoso theme. The quintessentially British tune may seem out of place in a celebration of the Bringer of Jollity – it is hardly thigh-slappingly funny. Curiously, too, it doesn’t reach a full close: what should be the second last chord sets off an echo of the shimmering sounds of the opening. The tune does, however, stride through tumultuous last pages of the movement.

If Jupiter’s big tune was a reminder that joy is fleeting, Saturn makes this very clear in its portentous, death-ward tread and ever more disturbing brass chords. Uranus, however, casts a spell in music as innocent as The Sorcerer’s Apprentice. Taking his cue from Debussy’s Sirènes, Holst imbues Neptune with the mystery of wordless, offstage female voices. With its translucent scoring and the hypnotic use of repeated chord patterns, the work ends as perhaps no other had before, fading imperceptibly into night and silence.

Gordon Kerry © 2003

First public performance of complete work:
15 November 1920, London. London Symphony Orchestra; Adrian Boult, conductor.

First WASO performance:
2-3 October 1964. John Farnsworth Hall, conductor.

Most recent WASO performance:
6 August 2016. Simone Young, conductor.

Instrumentation:
four flutes, two piccolos, alto flute, three oboes, bass oboe, cor anglais, three clarinets, bass clarinet, three bassoons, contrabassoon, six horns, four trumpets, three trombones, tuba, tenor tuba, timpani, percussion, two harps, celeste, organ and strings. Offstage female chorus for Neptune.

West Australian Symphony Orchestra (WASO) is a not-for-profit company that thrives on the enthusiasm, passion and support of our entire community. We harness this energy to create events and programs across the State to stimulate learning and participation in a vibrant cultural life.

We are both fierce advocates for our great classical musical heritage and passionate leaders in the commissioning and performance of new music by leading Australian and international composers. Every year we mobilise and nurture a new generation of young and emerging artists to help secure a bright future for music in Australia.

We create the spark that sets off a lifelong love of music because we believe it has the power to touch the soul and enrich lives.

Our resident company of full-time professional musicians are the beating heart of our organisation. They play a central role in the vibrancy of our creative state, performing to hundreds of thousands of people each year. Our Orchestra is supported by hundreds of visiting artists, alongside the volunteers of the WASO Chorus, to create an exceptional performance at every venue, every time.

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Alex Timcke
Principal Timpani

How did you get into music?
I was fortunate enough to attend a high school in Adelaide that specialised in music. I had no previous experience in music at all,
which in hindsight, must have been quite a dilemma for them! They ended up giving me to the percussion teacher, no doubt hoping I’d give up and move on. Unfortunately for them, the teacher and I got along extremely well, and I continued lessons throughout high school. He encouraged me to pursue percussion at a tertiary level and from there, everything fell into place.

Can you remember your first WASO concert?

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Michelle Candy

R & R Cant

Nanette Carnachan

Joan Carney

S Barea Castillo

Philip & Frances Chadwick

John Collins

Rev Des Cousins

Dr Christopher Cook & Ms Elise Chong

Carole & John Cox

Keith & Suzanne Cundale

Gary & Judith Davis

Michael & Wendy Davis

Gabrielle Dean

Lee Delaney

Hanneke & Jop Delfos

Ray & June Delmenico

Daphne Devenish in memory of Bruce Devenish

Diana Deykin

Patricia & Roy Done

Camron Dyer

Mary Ellen in memory of Kerensa

Judith fa*gan

Maxine & Bill Farrell AM

Archa Fox & Charlie Bond

IR & V Freeman

Jennifer & Stephen Gardiner

Neville & Jane Gibbs

Maureen Glancy

Frank Glass

Anne Gray

Barry Green

Andrea Hall

Shona Hall

Paul & Barbara Harris

Peter Harris

Alan Harvey & Dr Paulien de Boer

Theresa Harvey

Vanessa & Ross Harvey

David and Deborah Hayes

Siew-Mung Ho

Dr Keith Holt

Rosemary Howarth

Jan & Walter Hunter

Lorna & Jonathan Hurst

Richard Isted

Cynthia Jee

Lynn & Michael Jensen

Dr Ursula Kees

B M Kent

Leonie Kirke

John Kusinski & Ann Motherway

Trevor & Ane Marie Lacy

Yvonne Lamble

Louis & Miriam Landau

Dr Warren Lilleyman

Graeme Ludlow

Robyn Main

Dr John Male

Oliver & Sophie Mark

Pam Mathews & Dr Mark Brogan

David Maynier

G & K McGregor

Dennis & Maureen McKay

Gaye & John McMath

Terence Middleton

Elizabeth Moran

Louis Mostert

Pamela Motherway

Michael Murphy

Marianne Nilsson

Phuong Nguyen

Marjan Oxley

Adam Parker

Bev Penny

Beth & Walter Pidgeon

J Pinnow

Thomas & Diana Potter

Eveline Read

Eril Reid

Liam Roberts

Paul & Christine Roberts

Dr J B & Mrs A Rowlands

Chris & Serge Rtshiladze

Esther Schenberg

Roberto Sciorilli

The Sherwood Family

Rory & Susan Shiner

Anne Sibbel

Paul & Margaret Skerritt

Hendrik Smit

Helen Smith OAM

Kevin Smith

Geoff & Chris Soutar

John & Elizabeth Spoor

Lois & Robert Stout

Lisa & Andrew Telford

M Thomson & R Robinson

Amanda & Desmond Thompson

Ivan & Jeanette Thompson

Loma Toohey

Tracey Family

Joan Travis

Judith & Rod Tudball

Heather & Jim Tunmore

Dr Robert Turnbull

Agatha van der Schaaf

Patricia Weston

Alan Whitham

Margaret Whitter

Pari Willis-Jones

Deborah Wiseman

Karen Wood

Margaret Wood

Alison Woodman

Andrew Yeates

Michael Young

Dr Susan Young

Chris & Kathy Ziatis

Anonymous (29)

Friends

Gifts $40+

Thank you to all our Friends who support WASO through their gift.

* Orchestral Chair Partnership

Ashley Smith
Pre-concert speaker